Come Tomorrow Tracklist Revealed
Posted by Sean Balogh in Album News at 10:10am on Thursday, May 3rd, 2018
Hello Friends. Kentucky Derby week is here, and post positions have been awarded. Betting lines have been posted. Thereís a lot of information out there, and yet nobody knows what will shake out come race time (this Saturday). Who would have thought a 144 year old horse race would have so much in common with a new Dave Matthews Band release?
Earlier today, our beloved boys from Virginia continued their pattern of weekly notices about their much anticipated album. We now have a track list. Last week they let us know the title of the album (Come Tomorrow), the release date (June 8th, 2018), and the bonus releases coming with it (thereís too many to include in a parenthetical, there was an email sent out about it, but to make this short they all sound pretty damn good. That #34 from the Gorge has me jazzed). Todayís announcement also indicates the first single, Samurai Cop (Oh Joy Begin), will be released nationwide next Friday, May 10th. So, once again, thereís a lot of information to parse through and make predictions and all thatís left to do is sit back and wait.
Its been 6 years since the groupís last studio effort, and to say this oneís a bit of a departure from the norm would be accurate. Most notably, this collaboration is just that, a collaboration. Traditionally each record has been produced by just one producer. Steve Lillywhite did 1994ís Under The Table And Dreaming, 1996ís Crash, 1998ís Before These Crowded Streets, and 2012ís Away From the World; Glen Ballard was recruited for 2001ís Everyday; Stephen Harris was nabbed for 2002ís Busted Stuff; Mark Batson produced 2005ís Stand Up; and finally Rob Cavallo was enlisted for 2008ís Big Whiskey And The GrooGrux King. Come Tomorrow, however, boasts 4 producers. Cavallo and Batson return, longtime studio friend John Alagia assists, and the band welcomed newcomer Rob Evans to lend a hand as well. Each of the four reportedly tackle individual songs. Some will be obvious (itís pretty safe to assume that Batson will be handling Canít Stop, as that was originally written with him during the sessions that produced Stand Up) while many others remain a mystery.
Impressively, Come Tomorrow will feature 14 tracks. Letís go track by track and break down what we know.
Samurai Cop Ė Weíve heard this one before. Debuting at the bandís 25th anniversary show in Charlottesville back in 2016, this oneís now bene played 80 times live in various settings. Of the 80 full plays, 32 have been just Dave and Tim, 10 have been just Dave by himself, and the remaining 38 have been full band. Itís anybodyís guess as to which version will appear on the album in a month. Luckily this one will be out next Friday, so we wonít have to wait long.
Canít Stop Ė Somehow, this Stand Up era song made the cut this year. Initially recorded for and then cut from the 2005 album, Canít Stop has now been played in full 75 times. Much derided by hardcore fans but generally considered to be a passable up-tempo song by everybody else, I guess we wait with bated breath to see if this oneís gone through any significant changes in the studio.
Here On Out Ė Here we have a simple song debuting with a full backing orchestra on a PBS special in November of 2016. While that one play remains the only public appearance of this song, itís transfixing. Daveís repetitive guitar riff is soothing and relaxing, and the humble vocal delivery brings back memories of the old DMB. You know, the same voice that gave us such delicate tunes as Iíll Back You Up and Cry Freedom.
That Girl is You Ė Coming in at fourth on the album is our first encounter with a true unknown. Like, nothing. Well, ok, let me backtrack. We know Mark Batsonís HEARD it. So this oneís probably not produced by him. He said he asked to hear it 4 times in a row, and described it in an Instagram comment as ďa freaking amazing performance.Ē But thatís it so far. Itís possible this oneís a reworked title of the twice-played Plastic Girl, but it seems Dave relented to the quick and vocal dislike from the fanbase on that.
She Ė Ok, this one I havenít heard anything about. All Iíve got for this one is the name is similar to Che, a song from Tim Reynoldsí solo album The Limbic System. Itís probably not that song, though.
Idea of You Ė FINALLY! This 2006 era song has been visited in the studio and scrapped seemingly every year for over a decade. Boasting 110 full plays and widely regarded as one of Daveís most recent ďclassic dmb soundĒ songs, weíre finally getting a studio cut of it. In another Instagram comment, Batson said he heard versions (plural) of this track including the late Leroi Moore. Featuring that Little Red Guitar used exclusively for Idea of You and Shotgun, the tone of the Veillette Soprano 12 string is enough to make every day feel like a summer evening.
Virginia In The Rain Ė To be honest, although this oneís been played 39 times and Iíve heard it live twice, I canít remember a thing about it. Through some relistening today, I realized why. To my ears, itís just flat. Itís been performed by Dave & Tim almost two dozen times, but every performance has included Dave sitting at the piano. The slow, brooding feel of the song is reminiscent of something, I just canít put my finger on what. I guess, to sum this one up, Iím anxious to hear if itís been fleshed out in the studio. I donít envision it being in my top DMB songs, but it does have a lot of potential to work with.
Again and Again Ė Unfortunately, it doesnít appear this one is named after the lyrics from JTR. Batson has confirmed this is a reworked title for the song previously known as Bob Law saying ďIt made more sense to Dave as we came down the stretchĒ. Another Dave piano song, this one seems to have originated in 2015 when a musician leaked out the sheet music for three different songs. Those three ended up being Again and Again, Bismarck (more on this one later), and Here On out. This oneís good, itís upbeat, and the lyrics make sense. But itís not JTR, and that upsets me.
bkdkdkdd Ė No folks, thatís not a typo. I donít know what it is, but it is accurate. Maybe this oneís secretly Be Yourself (thatís the morning line favorite, but Keen Ice upset Triple Crown winner American Pharoah up here in Saratoga, so anythingís possible I guess. By the way, I wouldíve hit the Superfecta on that race had I gotten out of work in time to place the bet, so if anybody needs some last minute Kentucky Derby tips for Saturday we have a Horse Racing thread). Maybe itís an Afrikaans translation for something (itís not). Maybe itís an old song about worms somebody got from eating some bad take-out in the studio. Maybe itís an allusion to #RoiBombs, an old gag where Leroi would blindly type characters onto band membersí iPhones and the resulting ďphraseĒ would be saved. Batson is being mysteriously coy about this one, only saying itís a ďhidden gem.Ē If you know anything about this one, please quell some fears over in the Come Tomorrow thread.
Black and Blue Bird Ė Again, another road tested slow song. With 64 plays (debuting at the Legends on Letterman Show in 2015), weíve heard it. More or less, we know what weíre getting with this one. One notable tidbit on this one though, itís probably much older than we think. Registered with ASCAP, the listed writing credits go to Dave, Jeff, Rashawn, and then Doug Taylor McKean. Astute readers may realize Doug isnít a member of the band. Good job. It appears Doug is a studio engineer the band was working with back in 2013. Rolling Stone published an article in November of that year quoting Dave as saying he was working with Cavallo and McKean on ďsomething that doesnít sound like the past.Ē I guess we got Black and Snooze Blue Bird and Virginia in the Rain out of that session.
Come Tomorrow Ė The titular track is, again, unknown. I canít find anything on this one. No writing credit is available publicly, itís not a new title for a known song as best I can find, and thereís not even any indication as to how long this oneís been kept under wraps.
When Iím Weary Ė More of that here.
So, where does that leave us. First, thereís lots of potential here. Of the tracks we know (8 definite) most are at the very least good. Thereís room for improvement on a lot of them, none of them are downright bad, and given the proper time in the studio with creative minds working on them, Iím confident they can be improved.
Secondly, it appears some of the most anticipated tracks wonít be released, at least for now. Songs like Bismarck, Shotgun, Break For It, and Break Free wonít be on the album, as far as we can tell. Batson has hinted on Instagram that itís possible theyíll be released later, either as a bonus track or some other such release. Heís stated that while everybody really liked Bismarck, for example, it just didnít seem to fit on the album. Reportedly, this album is more of a concept album than a collection of songs. Representing the past, present, and future of DMB, the 14 selected tracks are the most representative and Bismarck simply didnít work in that theme. Thatís fair enough, I suppose. But for now, weíll just have to wait. Thereís just about a month until the whole album is released, and most of our questions will be answered.